DDPs Favorite Tandas:

D’Arienzo: Early Instrumentals

El cencerro (1937)
Jueves (1937)
La payanca (1936)
El flete (1936)

“In my view, the tango is above all rhythm, nerve, force, and character.”
Juan D’Arienzo
In the midst of the Infamous Decade, when musical innovators like Julio De Caro had already appeared on the tango scene, D’Arienzo’s rhythm, nerve, force, and character returned to the mythical jovial, picaresque, roguish roots of the tango.  Supposedly, Aníbal Troilo once admonished other musicians who dismissed D’Arienzo as simple and repetitive by reminding them that without him, they would all be out of work.
When these tangos were recorded, Rodolfo Biagi was still D’Arienzo’s pianist, and the legend goes that in the late 1930s this orchestra filled the Cabaret Chantecler up with enthusiastic dancers.


About Derrick Del Pilar

Born and raised in Chicago, I came to the tango while studying at the Universidad de Belgrano in Buenos Aires in 2006. In 2008 I earned my B.A. with majors in Creative Writing and Spanish & Portuguese from the University of Arizona, and in 2009 I earned an M.A. in Latin American Studies at the University of California, Berkeley. My specialty is the history & literature of early 20th century Argentina.



  1. Pingback: A violin in D’Arienzo: more musings on decorations and musicality | Tango Addiction - 19.12.2011

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